Posts Tagged ‘tove jansson’


February 6, 2012

His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.

Joyce’s last line of his novella ‘The Dead’ (the final bit of Dubliners) is a really good one. In fact, Andrew O’Hagan says it’s his favourite line in literature.

Well it’s the soft, sibilant line that came into my head on Saturday night, as we emerged from the pub to a London blanketed in soft white snow. Albeit less soft when rolled into a ball and pelted.

I love snow. I love the way it very quickly, very easily, very quietly changes the way everything looks. I love the way it muffles everything. I love the way it turns everywhere into a giant playground. I love the way it makes everyone slow down.

Of course, the thing one most wants to do in snow is run out and play in it. But – when one has had one’s fill of snowmen and snowball fights, when one’s gloves are soggy, hands frozen, scarf glistening with tiny pretty water droplets – then there’s nothing better than coming inside to the warmth, drinking hot chocolate, having a scaldingly hot shower and reading a snowy book.

Snow is something that books can do particularly well. Last year, in the bookshop, we made a display of wintry, snowy books. It was amazing how many have the words ‘snow’ or ‘winter’ in the title. Here are just a few:

  • Miss Smilla’s Feeling for Snow by Peter Hoeg
  • Snow by Orhan Pamuk
  • If on a Winter’s Night a Traveller by Italo Calvino
  • Winter in Madrid by C.J. Samson
  • The Winter Book by Tove Jansson
  • Snowdrops by A.J. Miller
  • The Snow Geese by Wiliam Fiennes
  • Snow Falling on Cedars by David Guterson
  • The Winter Ghosts by Kate Mosse

And then there are all those Arctic exploration ones too.

But perhaps these titles are false sirens, for neither ‘The Dead’ nor ‘Dubliners’ would necessarily make one think of snow, and yet Joyce describes the effect of snow so brilliantly. The same goes for The True Deceiver by Tove Jansson. It is an impossibly cold book, which one simply cannot read without feeling freezing. I’d say it is the perfect thing to read in the snow. And even in the post-snow slush.

The True Deceiver is set in a small Scandinavian village. It begins on ‘an ordinary dark winter morning, and snow was still falling’. And it ends just as the snow has thawed enough so that ‘the forest floor emerged, moist and dark and ready to burst with all the things waiting to grow’. Tove Jansson charts the course of a winter, and what happens in an isolated village during that winter.

Now for all of you who have grown addicted to Scandinavian crime, be it in books or on telly, I’m afraid it will come as a disappointment  to learn that this book isn’t about gruesome murders. There is, however, something deeply chilling in it, as though it is poised on the verge of being a crime novel. Instead, it settles on an intense psychological battle between two women – strange, wolfish Katri Kling and old, gentle Anna Aemelin.

It’s a brilliant, enthralling, beautifully written book, in a style that has the cold sharp clarity of ice. One thing that I think Tove Jansson does particularly well is write about snow.

In London, we get a tiny isolated moment of snow and everyone goes beserk. Quite rightly! But we don’t get to experience it in the way a Scandinavian village does. We live with snow for a day or two, perhaps a week at most. It’s not part of our lives for months of the year, so we don’t pay attention to its subtleties. There’s that  urban legend that Inuits have 400 words for snow. Well it might not be true, but the point still holds: when one lives surrounded by something, one will appreciate it in an infinitely more detailed and complex way.

I’m not sure how many words Tove Jansson used in the original Swedish for snow, but Thomas Teal, her translator, has made excellent use of just the one.

We immediately learn that the ‘dark winter morning’ that opens The True Deceiver is ‘ordinary’, precisely because the snow is ‘still falling’:

It had been snowing along the coast for a month. As far back as anyone could remember, there hadn’t been this much snow, this steady snow piling up against doors and windows and weighing down roofs and never stopping even for an hour. Paths filled with snow as quickly as they were shovelled out.

The snow is so endless, so ‘steady’ that it has become quite simply normal, ‘ordinary’. Therein lies the claustrophobia, the helplessness, the futility of battling against it.

Throughout the book, Tove Jansson gently reminds us of the presence of snow, of how it changes, and, towards the end, how it melts. The first few chapters portray snow at different times of day, so after that ‘ordinary morning’ we learn that ‘the snow was very blue in the early twilight’ and, a little later, at night:

The roofs had heavy overhangs of snow, the paths tramped into the snow during the day went white again, and the hard-packed banks on either side grew higher.

But the book does not all take place at such painstakingly small intervals. The momentum gathers and it’s not so long before:

The first spring storm swept in from the sea, a strong warm wind. The snow was already heavy and fragile, and in the stormy forest great clumps of snow fell from the branches, and many branches broke in the moment of their liberation.

This snow is different from the ‘hard-packed’ snow of earlier. This snow is ‘fragile’, ready to drop in clumps, a promise that one day it will break up into the ‘rivulets’ that will trace the ‘muddy’ ground in spring.

Jansson shows us how the characters live with the snow, how they interact with it. Paths are shovelled, the boat yard closes when it’s too cold, evenings are spent at home. One of my favourite moments is when Katri takes all Anna’s old junk out and leaves it on the ice, so that when it melts, ‘everything will sink, just go straight down and disappear’.

I wonder what London would be like if snow and ice became part of our lives like that. Would we turn the frozen Thames into a place to get rid of all our junk, gathering to wait and watch it just disappear? There did used to be Frost Fairs on the Thames, back when the river was wider, before the Victorians built the Embankment, which narrowed and hastened the flow of water. But I somehow doubt that furniture sinking was one of the activities.

Perhaps snow would become less magical if we were used to getting it all the time. Indeed, what seems magical in The True Deceiver isn’t the snow, it’s the coming of Spring:

During the day, the soil under the trees steamed in the warm sun; the nights were ice cold and deep blue. It was a brilliantly beautiful time.

I can’t imagine London pavements ever steaming as thick snow melts in the Spring sun. Indeed London snow has already skipped this stage in favour of turning to pigeon-coloured sludge.

But perhaps that’s why this book is particularly good to read in the snow. One feels all cold and wintry and amazed at the power and intricacies of snow, but there’s also the knowledge that once it passes something equally special will come. And how exciting to think of lengthening, warmer days, and the coming of Spring.

Reading in South Africa

January 23, 2012

Gosh it has been such a long time since my last post. I do hope it’s not too late to wish the dear and forgiving reader a Happy New Year.

My excuse – perhaps a little feeble – is that I’ve been on holiday. On my honeymoon, in fact. So I thought it fair enough to have a little break. And before that our roof and car broke. And before that it was Christmas … and … ummm … the dog ate it.

I have not, however, had a break from reading.

Christmas was a spent grazing on some of Stella Gibbons’s short stories, winningly republished by Vintage as Christmas at Cold Comfort Farm. Perfect for the Reading-Gassing Challenge. And I read Finn Family Moomintroll by Tove Jansson, which was utterly delightful and spurred a New Year’s Resolution to read more children’s books.

Indeed, I wrote rather an irreverent piece for the Spectator about New Year’s Reading Resolutions – which you can read here. One of my suggestions was to read geographically, which I expect many of you know is a firm belief of mine. So it’s a great shame that I didn’t follow my own advice when it came to picking books for my honeymoon in South Africa.

I had been reading The Heat of the Day by Elizabeth Bowen over New Year.

It is a magnificent book, about a love affair in wartime London. Ever since I so enjoyed Elizabeth Bowen’s book about her family home in Ireland, Bowen’s Court (see this piece here), I longed to read more, and I thought that Christmas was a good time for such a treat.

I won’t go on about Bowen too much – as otherwise I’ll never get up to the South Africa bit of this post, which is what it’s supposed to be about. I should quickly warn you that it’s a bit of a tricky book to get into. It’s full of long sentences with clauses that seem to come in rather a peculiar order:

She had left a lamp alight on the stool beside him: the watery circle on the ceiling seemed for the moment to swell or tremble – so earthquake stories begin; but this could be only London giving one of her sleepy galvanic shudders, of which an echo ran through his relaxed limbs.

It’s a beautiful sentence which makes perfect sense, but wow does it meander along. And the language and inflection does seem curiously dated, sounding less natural now than it might have in the forties.

But I loved it. There are two passages in particular that are some of the best writing I’ve read anywhere. In fact, I reached the first one on the sleeper train up to Inverness just before New Year’s Eve. I lay in my bunk reading it in a sort of dream, absolutely spellbound. It was only when the steward came in, looked shocked to see me still there and told me we’d been at the station for the past fifteen minutes, that I realised it really was something else!

As far as books go, I was still in that sleepy, holidaying, Christmassy mode when it came to choosing what to read during my honeymoon in South Africa. That first week of January was quite dreadful for me. Everything in London went horribly wrong and our car broke and the balcony was leaking and we had to do all sorts of exhausting things like rip up decking and lug trees around and phone up insurance companies, so I momentarily stopped reading anything whatsoever – there wasn’t a spare moment to read anything other than terrifying To Do lists.

So, although I eyed up a couple of Damon Galguts and Coetzees, I simply didn’t want to buy them. I still yearned for the indulgent reads of Christmas – the pleasure of reading sure-fire hits, books that I knew I’d love and had been longing to read for ages. Which is why I ignored the geographical rule…

I packed Matthew Hollis’s biography of Edward Thomas, which I suspect will win the Costa Prize tomorrow. (Some of you might remember my lusting after the hardback, which prompted my reading Hollis’s new edition of Thomas’s poetry, written about here.) I also took along New Finnish Grammar, which turned up rather fortuitously in my stocking, and, finally, Maurice by Forster, as I’ve wanted to read it ever since getting drunk one night at university and somebody telling me it was one of the best books he’d ever read. I do love E.M. Forster.

In short, I was a nincompoop.

Of course I got to South Africa and found the experience of reading Elizabeth Bowen on safari far too strange. How could I spend from 5am to 9am being driven around, looking at lions and giraffe and other amazing creatures in the boiling beauty of the Kalahari desert, only to return to the room and read about London being bombed? Well I managed it, but it was such a shame to force this disconnect between the different worlds. Rather than them enhancing each other, I had to enjoy them as separate things, each one an escape from the other. I’d much rather have read it in London, where I am 99% of the time.

After our amazing few days on safari – how I could go on about the giraffe in particular, but I shall spare you – we went to Cape Town. On finishing Elizabeth Bowen, I discovered that I had no desire whatsoever to read anything I’d packed. I wanted to learn more about South Africa. I was there and so of course wanted to try and make sense of it. I wanted to read about the big things like their very troubled history and about the little things like people making ‘brais’ all the time (barbecues – they’re obsessed). I knew that I couldn’t let my brain be taken over by Edward Thomas, E.M. Forster or anyone else who wasn’t South African, while I was there.

So I found myself in the idiotic situation of needing to find a bookshop as soon as possible. Talk about a busman’s holiday.

But we found a very nice bookshop, had a good little browse, and in the end I settled for a newish memoir by André Brink, A Fork in the Road. Gosh I was cross that I hadn’t bought it from my own bookshop!

To be completely honest, I don’t think it was the best choice. It was definitely quite good. And I was pleased to read it out there. Having just seen springboks bounding through the desert, I could immediately identify the one on the cover.

It was particularly interesting to read about Brink’s childhood, growing up in a small village, and learning about the unquestioned separation of the whites from the blacks – even when they played together as children:

As the daylight faded, we would disperse and go to our different homes: we, the white boys, to the sprawling homestead of the farmer, the black boys to their huts and hovels. This was never discussed. It didn’t even occur to us to do so. It was how the world functioned, according to the same immutable laws that governed the rising or setting of sun and moon…

Brink writes very well about fear. He uses the striking image of his childhood fear of there being a black man under the bed to crystallise a major issue for the country. (Please somebody write a thesis about the black man under the bed compared to the madwoman in the attic.) He also writes well about there being so much violence:

Somewhere in the background there always lurks something vaguely sinister or overtly menacing, something violent, something inexplicable. A sense of sin and menace without which no village could survive.

The instances of violence from his childhood are shocking and appallingly well-rendered, haunting stories that mean I’ll never forget the ‘blood-streaked face’ and the ‘dull smacking sound of those blows’.

On the back cover, the Literary Review is quoted saying that Brink is ‘at his considerable best’ in ‘the first sixty pages of his autobiography’. And I’m inclined to agree – the first sixty pages really are stunningly good. And there are some more good bits later. His account of being followed by the Special Branch police force during the seventies, when Apartheid rule was at its peak, is chilling to say the least.

But there are also endless digressions about all the women he’s loved. Ingrid, H, Alta, Karina … one beautiful poetic tragic nymph is lined up after another, which I’m afraid left me feeling bored and a little nauseous. And there’s rather a lot of Brink placing himself at the centre of a literary and artistic scene, which at its worst feels like long chunks of name-dropping.

And – dare I say it? In my exceedingly humble opinion, I thought there were quite a few passages that were very pretentious. They are mostly while he’s off gallivanting around Europe. For instance, there’s a terrible bit about  seeing some Picassos at the Tate:

… a spiritual tsunami. Never before this day had I fully realised that the impact of Picasso was comparable to that of Michelangelo, or Rembrandt, or Beethoven.

That kind of writing is just not my cup of tea. I kept wanting to shout: ‘Shut up and get back to South Africa and write about how it was growing up and being a liberal writer under the Apartheid regime!’ Because those bits really are good. Oh well, as one would say in South Africa, ‘shame’.

Well I now have a rather pleasing South African hangover in the form of The Good Doctor by Damon Galgut and Black Diamond by Zakes Mda. Now they are sitting by my bed in London, next to the as-yet-unread Matthew Hollis, E.M. Forster and Diego Marani, newly-plucked from my suitcase, and a few others that have been jostling for my attention at the end of last year. And, I have to say, it feels pleasantly exciting to know there’s a stack of good books to keep me going through the winter. I feel a little like a squirrel with a stash of hazelnuts. The only tricky thing is choosing which to read first.